African Studies Quarterly | Volume 18, Issue 2| February 2019 “This Guy has become a Complete Savage”—A Last Interview with Jan Vansina HEIN VANHEE Abstract: Professor Jan Vansina looks back at the early years of his rich academic career as a historian of Africa and more specifically at his field research among the Kuba peoples of the DR Congo. Learning their language and participating in the boys’ initiation allowed him to become a deeply involved participant observer. He worked on the current anthropological themes of the day, and more importantly, he also collected oral material for an innovative historiography that would later inspire hundreds of students and researchers. Blinded by cultural prejudice, missionaries and colonial administrators did not understand what he was doing, and saw him as a hopeless case, but Kuba people came to accept him everywhere in the country. As a junior researcher, Vansina had been sent to the Kuba kingdom because of the great reputation of its art in the West. He found out that this same reputation had played a crucial role in the survival of the kingdom, in particular after its initial encounter with the terror of King Leopold’s Free State. Kuba kings had learned to deal with the realities of the Belgian Congo, using their revered art for clever diplomacy and bending the model of indirect rule to their own benefit. Introduction The present interview took place at the home of Professor Jan Vansina in Madison, Wisconsin (USA) on May 12 and 13, 2016. Its main purpose was to video-record a number of statements about Vansina’s research on the history of the Kuba peoples of the DR Congo. These would be used in one of the new galleries of the renovated Royal Museum for Central Africa in Tervuren, Belgium.1 The gallery titled “Rituals and Ceremonies” has showcases displaying the objects of Kuba royalty, as a historic case to illustrate a broader narrative about diverse models of leadership in Central Africa. There I wanted to include the story of Jan Vansina’s field research in the 1950s among the Kuba peoples, in what was then still the Belgian Congo. This would provide visitors with an insight into how anthropological and historical knowledge is produced. Inspired by the book Being Colonized (2010), I also wished to convey a sense of the extraordinary importance of Kuba art for the survival of the Kuba kingdom under colonial indirect rule. The interview was done in three sessions, as agreed beforehand, in order to not exhaust Professor Vansina who was then already suffering from a terminal disease. He had just made this public in an article titled “De Vita Sua” in the journal Society, of which he lent me his copy so that I could read it at night. The article contains a self-evaluation of his own trajectory as a scholar and a reiteration of a passionate argument in favor of a truly African history, written for and accessible to African audiences. Histories are important for the role Hein Vanhee is a historian and curator at the Royal Museum for Central Africa (RMCA) in Tervuren, Belgium. His research interests include the history of Central Africa and its diasporas, colonialism, material culture and art, and cultural heritage. His latest exhibition is titled “Rituals and Ceremonies – African Testimonies” on view at the RMCA. http://www.africa.ufl.edu/asq/v18/v18i2a1.pdf © University of Florida Board of Trustees, a public corporation of the State of Florida; permission is hereby granted for individuals to download articles for their own personal use. Published by the Center for African Studies, University of Florida. ISSN: 2152-2448 Interview with Jan Vansina| 2 they play “in sustaining or even creating collective identities” and thus in supporting collective and individual self-confidence and self-esteem. The article has a distinct melancholic feel, stemming from a continuing passion for a noble cause for which his own battles had now been fought, and from a seemingly inescapable wondering about how people will look back at himself, the historian. Figure 1: Professor Jan Vansina at his home in Madison. Still from video-recorded interview by Hein Vanhee, 12 May 2016. I had met Professor Vansina before, when he visited Belgium in 2001 and gave public lectures at several Belgian universities, and we had often corresponded about archives, collections and research.2 In 2010, Vansina donated his research archive to the Royal Museum for Central Africa, containing the original notebooks of his field research in Central Africa. These document his research among the Kuba intermittently from January 1953 until July 1956, and among the Tio from October 1963 until April 1964. In addition, the archive holds the series of oral history accounts which he collected in Rwanda (known as ibitéekerezo) and in Burundi, besides boxes with more research notes, drafts, vocabularies and offprints. The motivation behind Vansina’s choice was clear and simple: in “Tervuren” his archive would be both safe and (more easily) accessible to researchers from Congo, Rwanda and Burundi. I enjoyed a warm welcome at the home of Jan Vansina and his wife Claudine. I had brought a large bottle of dark Belgian Trappist beer of a brand I thought would not be available in Madison stores (I had missed my connection at London Heathrow since it took a while for security staff to figure out that it would not explode). After our first interview session we spent a pleasant moment together up in the living room with Claudine, their son Bruno, and Professor Florence Bernault who had stopped by for the occasion. We chatted in French, English and Dutch, changing from one language to the other almost unwittingly, exchanging anecdotes and laughs. Jan Vansina said I absolutely needed to visit the University’s open stack library which he praised for its treatment of researchers. I remember African Studies Quarterly | Volume 18, Issue 2|February 2019 http://www.africa.ufl.edu/asq/v18/v18i2a1.pdf 3 | Vanhee the strange sensation of feeling truly honored to be the guest of someone for whom I had such a great admiration while at the same time being comfortable as if I was at home. We spent several hours in his downstairs study and library, where I recorded the interview. It felt like being in a sanctuary, where so many great ideas were born, where so many articles and books had been written. With large windows allowing a lot of light to come in, the place was stuffed with houseplants of various kinds and sizes, making it look like a greenhouse. A large map of Africa hung on the wall which had Mweka on it, where the colonial administration had set up headquarters in Kuba country. Explaining the empty bookshelves, Vansina told me he had given most of his personal library to the University of Wisconsin - Milwaukee. He kept giving away the new books that were still coming in, as if he was leaving for a destination where he could only take a tiny suitcase. Hesitatingly, I accepted Jelmer Vos’ “excellent book” on the late Kongo kingdom. Had I a copy of Nancy Hunt’s “fabulous” A Nervous State? “Oh no,” he changed his mind, “not this one, there’s a personal dedication written in it.” My memory of the two days that I spent interviewing Jan Vansina will always be dominated by an image of the sheer pleasure with which he was telling about his first fieldwork among the Kuba peoples. The way the people initially responded to his presence, the incomprehension of colonial officials for what he was doing, his final acceptance by the Kuba after he had gone through initiation: the stories filled him with visible joy and nostalgia. In his mid-twenties he had been the rebellious researcher who sided with the Kuba against arrogant and ignorant colonial bureaucrats, and that still gave him great moral satisfaction. At the end of our last conversation, almost as prompted by an afterthought, I showed him on my laptop the selection of Kuba art objects that would be on display in the new gallery I was working on. As I am used to Africanist historians being rarely interested in African art and material culture, I started explaining various items. He quickly took over, and instructed me about details of iconography and used materials, of which I had not been aware. I nodded. Then we sat outside waiting for my taxi. When it became clear that my taxi was late, he decided "Come on, we're not going to wait any longer, I will take you back to your hotel." Running through the hallway, he swung a coat around his shoulders and with a boyish grin he picked up a baseball cap with the inscription ‘ANGOLA.’ He laughed, "I got this from a doctoral student!" With a decided foot on the pedal and nervously pulling the steering wheel, he drove me back in his bright red sedan, explaining to me on the way the layout of downtown Madison and every smallest landmark that came into view. Professor Jan Vansina passed away peacefully in Madison on 8 February 2017, aged 87. The obituary card distributed at the funeral service in Belgium identified him as a “historical anthropologist.” Reflecting values held high by his family in Belgium, the accompanying text praised his sense of duty, his professionalism and his honesty. "He received the highest honors in his field, but he remained easy to deal with." The Interview Hein Vanhee: How was it to start doing fieldwork among the Kuba peoples in the 1950s in what was then still the Belgian Congo? Jan Vansina: In the early 1950s, it was unusual for Belgians to do fieldwork.